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to every good musician, and to enable him to perfect himself theoretically as well as practically, has this advantage over private instruction — that by the participation of several scholars in the same immediate object of study, it awakens and keeps alive in them a true musical feeling, stimulates them to emulation and hence to industry, and preserves them from partiality or one-sidedness in the formation of their tastes, a fault against which every artist should be particularly cautious, during the progress of his studies. It has also the advantage of cheapness. Each student pays about $60 a year, for which he receives instruction in all branches. This moderate sum, as one can readily see, must bear a very small proportion to the expense of private instruction.
" The theoretical part of the education consists of a complete course of three years. The pupils are divided into six classes, and a new term commences every half-year; though if one is sufficiently prepared, he can enter any of the advanced classes at the time of his admission into the Conservatory. The first year is devoted to simple Harmony; the second to Harmony and Simple Counterpoint; and the third to Harmony, Double Counterpoint and Fugue. The study of Composition and Musical Form constitutes a separate branch, being under the charge of a different instructor. It comprises all the different forms of vocal and instrumental composition, with the analysis of classical works. There are also exercises in playing from score and the art of conducting an Orchestra. The Italian language is also taught to those who devote themselves principally to singing. Lectures are given twice a week by an eminent Professor on the History and Estheticks of Music, and the science of Acoustics with experiments. So much for the theoretical
Dwight's Tuurnal of Musir.
“In the practical branch also, instruction is given in classes. No limited course can be prescribed, however, as everything here depends on the talent and industry of the scholar. The vocal department is patronized mainly by females, and for those who pursue the study, exercises in Declamation are given, to improve their pronunciation, and fit them for the stage. The instruments that are made the principal objects of study are of course Piano and Violin, and each student is obliged unconditionally to devote himself to one or the other of these two. The violinists are exercised in Solo, Quartet and Orchestra playing: The organ is unfortunately not much attended to. Those, who desire to learn the common wind instruments, can do so by paying an extra fee, though it does not form part of the regular course. An opportunity is afforded to those who particularly excel on any instrument to appear at some public performance, either in orchestra, chorus, or solo.
“Besides the regular exercises, the pupils meet together one evening in the week, and those who have studied any work to the satisfaction of the teacher during the past week, perform it for the benefit of the whole assembly. These soirées are attended by the friends and families of the Professors, and frequently by distinguished artists who are visiting the city. As for instance, the past fortnight the students have been inspired by the presence of the first of living German composers, Dr. Robert SCHUMANN. He has twice honored these assemblies with his presence, and several of his compositions were performed in his hearing, at which he evinced great satisfaction. His wife also accompanied him, and played several pieces. This lady (formerly CLARA WIECK) ranks among the first pianists of the day, and certainly stands at the head of those of her sex.
“ Two examinations are held every year, one a private one, at which the pupils are classified according to the progress they have made, - and one, a public exhibition or concert, at which the more advanced only are allowed to appear, either as composers or performers. The privilege of attending the rehearsals of the series of concerts that is given every winter in the Gewandhaus,' as well as of most others, is also afforded to the pupils.
The Government of the institution is entrusted to five gentlemen, who are professed admirers of
the art, and who discharge their office without this is not realized often. And the young men compensation. The discipline is by no means
who come here generally find the expenses conmore strict than every scholar who zealously
siderably more than they had been led to expect. engages in the study of music, would willingly submit to. The regulations are very simple, viz.,
Some live on four hundred dollars, more expend that the scholars shall attend regularly the exer six hundred, and it is not safe for one, who has cises, appear at no public performance without
been accustomed to city life in the United States special leave, and in general conduct themselves
and who intends to attend the concerts, (which is orderly and submit to the direction of the Government of the Institution. Each pupil on leaving
quite necessary), to make his calculations to get the Conservatory, receives a testimonial or degree, along with less than about eight hundred dollars stating his time of study and his comparative per annum; and then he must not be disappointed proficiency in the art. “ As was said above, the expense is compara
if he finds himself minus say two hundred dollars tively trifling, and within the means of almost
at the end of the year. But if a man has tried every aspirant for musical knowledge. A fund it and finds that he can live on five hundred dolhas been given by the King of Saxony, by which lars per annum in New York; then he may safely a limited number, whose means will not otherwise
conclude that the same sum will answer his purallow it, can be educated free of expense. “ The professors of the Institution are such as
poses in Leipsic, or other German cities. enjoy a universal reputation, and are many of
In addition to the names of Professors given by them of Mendelssohn's own selection and appoint Mr. P. we will add the following, all of which are ment. Among them are MoscHELES, Instructor
to a greater or less extent connected with the of the Piano, David of the Violin, and HAUPTMANN of Harmony.
Conservatory; RICHTER, Rietz, PAPPERITZ, “Such are the main features and advantages of
PLAIDY, WENZEL, BECKER, DREYSCHOCK, this system of musical instruction. It were to be (violinist,) HERRMANN, and KLENGEL. wished most heartily by all lovers of music, that Success to the young men of America, who, such an Institution could be founded in every large city of our own country. The rapidly
having the necessary talent, shall devote themselves growing taste of our good people seems to demand
to the study and advancement of musical science some such effort, and from present appearances and art in the land! By-and-by, when we shall we may certainly encourage the hope. Objec have some MARY LYON to devote herself to the tions have been made to the system of instruction
work, we shall have a Conservatory, with the in classes, but these are equally applicable to other studies as well as music. To be sure, where a
buildings all erected and paid for, like the Mount pupil in a private lesson receives the undivided Holyoke School in Massachusetts. attention of his instructor for the space of an hour, in the class he receives individually only a fraction of the same. But this comparatively trifling evil is more than counterbalanced by the advantages, as we have above hinted. The pupil becomes acquainted with many different styles, sees the beauties and the faults of each, and is impercepti
BOSTON, APRIL 24, 1852. bly led in this way to the formation of his own. Again, by being constantly compelled to perform
The Old Church Modes or “Tones." before others, he cannot fail to acquire a degree of confidence, whch is beneficial and necessary
There has been manifested of late more or less of to every public performer. Ilow often do we see
a tendency, in the sphere of Sacred Music, to go an instance of a private pupil, when summoned back for models even to times earlier than Art unexpectedly to an exhibition of himself, completely thrown off his guard by the presence of
itself. The severity, solemnity and grand siman assembled company, and so far from doing plicity of the old ecclesiastical chants has won himself justice, making a total failure. If time many to the belief, that here was the only sacred admitted, we might enumerate many other advan
music; that in those old traditional tunes, plain, tages, to the truth of which we can testify from personal experience. As it is, for the present,
yet inimitable, the prayers and pious aspirations our word must be taken for it, and we can only of Christendom once for all were inspired with a conclude with the hope, that the little insight we form of utterance, to be forevermore repeated in may have given into the system and zeal with
all public worship. It is the same sort of sentiwhich exertions are made in Europe in the cause of this absorbing study, may be of some slight
ment, which led Cornelius, and other painters of assistance in stimulating our musical countrymen
his school, to try to shut out the daylight of the to similar endeavors.”
present, and paint by the dim, consecrated halo The foregoing will be read with interest, of a Past, when faith was more in earnest than it especially by such young men as are thinking of now seems; and Schlegel to do the same thing in fitting themselves for the musical profession. The literature. Elegant treatises and collections are time is past when one can expect to succeed well, multiplied in England, setting forth the beauties who takes up music and pursues it professionally of the Church Modes in Music; and it is even without a suitable previous preparation. It is not intimated by the zealous ones in this direction, necessary, indeed, that all teachers should be that the richer modern music, the Masses of learned musicians; many excellent teachers in Haydn and Mozart and Cherubini, the Oratorios different musical departments there may be, who of Handel, &c., are a degenerate, worldly music, have made but little progress in musical science; compared with these inspired, and as it were, but still we need such as shall be able to pursue
ordained forms of solemn song. musical investigations, and give tone to the gen
How reasonable this is, may appear from a few eral character of American music.
considerations, which we only briefly bint. shall have when men like Willis, Parker, and Music has passed through three states: the others whom we might mention, devote themselves state of nature; the state of prescription, or ordito the work.
nance; and the state of Free Art. Which is In addition to what Mr. P. has said, we will re the highest ? Which should afford most full and mark in relation to expense, that it will cost a perfect utterance to man's highest, holiest aspiraman about as much to live in Leipsic a year as it tions, — in a word to the Unitary, the Religious will to live in Boston or New York a year. One sentiment ? may, perhaps, live somewhat cheaper here, but All histories of Music open with quotations
from the bibles and traditions of the nations, any stronger marks of selection and design appear to have been the only one approaching this immorshowing its earliest public uses to have been reli in them, than might be expected in a melody tal master in the conception of elevated and grand gious. The simplest language which the private formed by a fortuitous concourse of musical ideas in his symphonies, and unsurpassed in his or the social heart knew for its joys and griefs, sounds.” (Vol. II, 41.)
celebrated Songs. Having studied music without was naturally the best that could suggest itself to Nor is it to be wondered, again, that out of this any master, his instrumental compositions somethe fresh instincts of the early races for their very self-denial and limitation there should have times overleap the general plan and unity of the temple service and communion with the common been a certain positive gain of masculine vigor whole, bringing in quite foreign parts, which someParent. Slight must have been the difference and sublimity. The superior richness and variety times would have been better omitted. As to the then between secular and sacred music. It was which some enthusiasts about the only genuine" difficulty of execution, he never took any notice all sacred, for it was of the heart; it was all old sacred music find in the Ecclesiastical or of it, but wrote whatever his genius dictated secular, for it sprang spontaneously from child Gregorian Tones, so called, is not to be set down at the moment, thus making his works very like intimacy with nature, when the sense of the altogether to imagination and to the peculiar ears difficult. Among his works we notice: supernatural was not divorced from any natural of “ Pusey-ism.” We may smile at their assertion “ His first Quartet for strings, op. 29, in A min.; experience.
of the degeneracy of all modern usic, as if two Quartets, op. 125, in E flat and E; grand And what sort of melodies were those thus every deviation from the twelve church Modes or Quartet op. posth. in F; grand Quintet for piano born in common life and consecrated at the altar ? Tones or Scales, were a corruption and approach and strings, op. 114, in A maj.; first grand Trio Mere stammerings and ignorant gropings after to worldliness. We may point also to the fallacy for piano, violin and 'cello, op. 99; second grand Melody; simple, rude and grave (they would now of supposing that the old works were richer in Trio for piano, etc. op. 100, in E flat, a famous seem), even although mirth-inspired for there their twelve scales, borrowed from the Greek, work; Serenade for piano, violin and 'cello, op. was no Scale of tones established, and of course no than we are in our two, which we call Major and 124 ; Rondo brillant for piano and violin, op. 70; Harmony; nor was there through all the glowing Minor. We may easily show that their twelve three Sonatinas op. 137; many compositions, as period of Grecian art, in which we hear such authentics and plagals were simply our one scale Sonatas, Marches, Variations, etc. for piano with marvellous effects ascribed to Music, nor even in a sheathed state of half-development, (as Goethe four hands; two grand Sonatas for piano alone, until far down into the Christian centuries. - says that snakes and fishes are sheathed men). op. 42 in A min. and op 53 in D; three grand Talking began before grammar; and Music began The seven notes of our natural Diatonic Scale Sonatas (op. posth.). Many compositions for before Scales, Thorough Bass, or Counterpoint.
were the fixed elements of each and all of them; piano alone. Mass for four voices and orchestra, It is not to be wondered, that these primitive
the semi-tones had not yet got their arms out; op. 48; another, op. 141; Tantum ergo, four rude germs of Melody, adopted into the keeping and at this point the serial unfolding was arrested. voices and orchestra, op. 45; two Offertoires for of the first ministers of religion, Pagan, Hebrew, Yet we may well admit that each Mode had a soprano or tenor, with orchestra and organ, op. 46 or Christian, should have become traditional and genius, or character peculiar to itself. Only it and 47; Antienne for Palm Sunday, four voices, stationary models, consecrated as the sole legiti was the character acquired by various modes of op. 113; the 23d Psalm, for two sopranos and two mate forms of music, so that they really checked limiting oneself in Melody. They were so many contraltos with organ, op. 132. Songs for four the free and natural unfolding of the Art. In arbitary species of self-denial, such as the limiting male voices, op. 11, 14, 16, 17, 28, 61. About the history of Music, as in our own lives, it may of thoughts and words to lines of certain length three hundred Songs, to words by Goethe, be true that the ghosts of our past habits, if we and rhyme, which Byron thought not altogether Schlegel, Ruckert, Heine, etc. respect them too much, paralyze present endeavor. uninspiring when he buckled to it. Let this serve “ Most of his works were left in MSS., as : six As every religion, every cultus, however true and for the present. We shall resume the subject Masses; twelve Symphonies, of which MENDELSfresh out of the heart and heaven once, almost more particularly.
Sohn had one (in C maj.) published; ten Operas: immediately entered its slow phase of superstition,
viz., the Spiegelritter, Teufels Lustschloss, Claudine dogmatism, and exclusivism ; so these first tune
de Villa Bella, Rosamunde, Les Conjurés, Die ful aspirations of an age before Art, being adopted
Minnesaenger, Les Amis de Salamanque, Fernanby the church, became dull psalms and ordinances, It is not generally known that this rare genius do, Fier-à-bras, Le mauvais Ménage, and two unwhich the creative genius did not dare to over manifested itself in other fields of the musical finished ones: Adraste and Sacontale. step. As the priests took the conscience and the art, besides that of the immortal Song-composer. “ Among his Songs published after his death is thinking of men into their own keeping, so they But since his early death, day after day has been Die Waldesnacht, by Schlegel,' undoubtedly the became the keepers of the infancy of Music; and disclosing manuscript upon manuscript of his, in greatest of all his Songs. The figures in the acclosely was the child kept to its cradle, as if it had which his creative activity and rich imagination companiment carry you on like the storm-wind no destiny beyond, — rocked by certain rules and had been embodying themselves in all the greater through the old pine-woods, which fall cracking theories out of the brains of bookish monks and and lesser forms of composition. With a true before this mighty element; the lightning flames pedants, who allowed it only that expansion and Shakspearian carelessness about present fame, he
in the dark night, etc.
Gruppe aus dem Tarno airing in the secular and growing world of published little or nothing of these ; but, writing tarus ("Groups from Tartarus ") by Schiller,' is nature and of genius. Those rules and theories, because his soul was full, because he could not another very characteristic Song. Very many (the slowly creeping so-called Science of Music), help it, he left the beauteous offspring of his of his fine compositions are still unknown. as well as the plain old stock of tunes and chants brain to find their own way in the world, as His too powerful and active spirit destroyed out of whose substance it was all derived, were a chance or the concern of admiring friends might his body in the bloom of life, (31 years old,) as Greek legacy, - an outright adoption of the Greek rescue this or that opera, symphony or quartet was the case with MENDELSSOHN, WEBER, MoModes or Scales, which were no scales at all, from the fate of mere waste paper. In the hands ZART, etc. His last request was, to be buried at least not Nature's Scale, - inasmuch as they of his heirs in Vienna, these piles of MSS. be next to BEETHOVEN. had not the means of Harmony, but were to a came as good as bank bills, or stock-certificates in great extent mere barren sequences of notes in the ever growing, never depreciating fund of his “ THE THREE MUSICAL JOURNALS.” — Such unison. Yet to their conventional and scarcely artistic fame.
is the title of a very friendly editorial in the last melodious series, to their consecrated poverty of Our friend, Mr. H. Perabeau, has kindly fur number of Mr. Willis's “ Musical Times,” weltones, was all the science of the priestly guardians nished us the following statement with regard to coming our advent. Kind words, indeed, have of Music limited. The Music of the first five or the compositions Schubert left behind him. Brief saluted us from almost all quarters of the Press; six ages of the Christian Church consisted of the as it is, it includes truly an astonishing cata and they are the more encouraging, that we have simple Canto Fermo or “ Plain-Chant,” called logue !
not in any instance sought them, and that we after Ambrose and Pope Gregory, which was “FRANZ SCHUBERT was born on the 31st of Jan fancy we detect in their tone a certain genuine sung in unison or octaves. No harmony, no uary, 1797, and died the 19th of November, 1828, cordiality, distinguishing them from mere puffs in parts appear in the old Missals, Rituals, and Anti in Vienna. This talented composer lived and died the way of business. We really think of apphonaria. Indeed, says Dr. Burney, “ the chants almost unnoticed by the world at large. Devoted pointing some one steward and secretary to our of the first ages have no other constituent part of exclusively to the art and not seeking fame, he vanity, who shall take pride in editing a Lepogood music than that of moving in some of the wrote in his short career about 145 musical works. rello catalogue of our conquests in this line. But intervals belonging to the Diatonic scale; nor do A great admirer of BEETHOVEN, he may be said we especially value the aforesaid generous notice
From our other most enterprising, business-like, news-crammed musical neighbor in Gotham, the Musical World, we must also acknowledge a flattering welcome, although it assigns us a province too much like the German town of Weissnicht-wo, in saying that our articles will be read with pleasure “especially by the transcendental lovers of music."
Still our plans for News are balked! This time the evil spirit of the East wind is answerable in part. A budget of interesting New York matters, “ Philharmonic,” “ Eisfeldt,” &c., has come to hand just as we go to press. But it will do next week.
We only find room to say that THALBERG positively comes over late in the summer.
Local. Mrs. DE RIBAS. Miss Garcia has in years past contributed not a little to our higher musical occasions. In the Oratorios of the “Handel and Haydn,” her sweet and flexible voice, and modest, sincere style were always agreeable. The Complimentary Concert announced for her in another column, to take place next Saturday, should prove that Bostonians appreciate their obligations both to herself and to her husband. Sig. DE RIBAS is one of our most useful musicians; in our principal orchestra, from the Academy time to this, his oboe has been remarked as one of the good points; and this inclement winter, in spite of very poor health, he has been always at his post. — By the way, looking over an old volume of the London Musical World, (for 1837,) some days since, we chanced upon the following notice of his brother and himself:
Mr. Ribas's Concert took place on Wednesday evening at the Hanover Square rooms, to a large and fashionable audience. The scheme was both various and excellent, but too long. Mr. Ribas performed an adagio polonaise, and a fintasia on the fute, both his own writing, with exquisite purity of tone and polished execution. His brother too — quite a lad, — distinguished himself in a solo, by Vogt, on the oboe. He will become a very fine player, for his tone is beautiful, and his execution already surprising for his years.
Our friends of the MENDELSSOHN QUINTETTE CLUB, during the storm last week, made a little professional excursion to the valley of the Connecticut. After performing, to great acceptance, at an Academic Exhibition at Amherst College, and giving a concert in Northampton, they passed the next morning, socially and musically, with the GOLDSCHMIDTs on Round Hill, where they were most cordially received. Quintets, &c. were tried over, Mr. Goldschmidt at the piano. And we happen to know, (what perhaps our friends will like to know was said not merely to themselves,) that their style of playing classic music was warmly commended by their hosts.
The Club are to give a series at Lawrence.
There is absolutely no chance of a concert in Boston from Mrs. GOLDSCHMIDT. She considers the three announced as due to the New Yorkers, as they were disappointed in the last serving round, owing to the death of her mother. They break up the Round Hill nest in a fortnight, and make the rest of their brief stay in America at New York.
For the farewell concerts an orchestra of eighty is engaged, of the very best artists in that city, to be led by BURKE. Also M. Appy, the violinist, and BADIALI, the noble baritone, with whom Mrs. G. is to sing a duet from the “ Huguenots.” Mr. GOLDSCHMIDT has composed a concerto for piano with orchestra for one of these occasions. For the rest, as far as we can learn, the repertoire is to be mainly the old one; in spite of excellent appeals in the Courier and Inquirer and the Tribune for one classical programme.
We heard Mr. WOLOWSKI on Saturday. It was a thin house and therefore perhaps uninspiring to him. In
spite of the skill displayed, the breadth of harmony, &c., we still could not see the use of playing on two pianos with one pair of hands. But Mr. W. is full of conviction that there is something in it, something suited to a genuine want or impulse of certain musical natures, like his own; he wishes it understood that he was embarrassed that night by the fact that one of the instruments was new, and therefore to the fingers like new boots to the feet, we suppose. He is not daunted, but seeins very much in earnest about giving a fair sample of his talent by another concert in Boston, for which he is now in New York to engage the assistance of a pair of prime donne. These may more attract the multitude, but the delightful Quintet of Beethoven that night by the MENDELSSOHN Club was one of the sweetest possible crumbs of comfort, amid what did seem to us rather an indefinite waste of skilful, - we can hardly say clear, or expressive, - execution of quite poor music. Did Liszt really write such a farrago as that “ Fantaisie on the Revolution of '48," with the 380 notes in one bar? If so, it was nnworthy of him.
The set of Mazurkas by CHOPIN was of course good; but how strange the style, how headlong the time, how perplexing the expression, of that rendering of them!
We do not condemn, since Mr. Wolowski seems to feel it in him to convert us to his manner — two pianos and all — by repeated trials. He is an exiled Pole, of high birth and feelings, who has suffered, had trying and romantic experiences, and should feel music, like a soul that truly needs to love it. In all this he has our sympathy; but after Goldschmidt, Jaell, Rackemann, Lange, &c. &c., we must in honesty say we missed much in his playing, though the Dailies said that everybody was delighted. Whose fault is it, if Mr. W. expects too much of Boston ?
from an older contemporary in musical journalism, since it at once establishes a true relation between our several enterprises (all to one good end, however, let us hope,) instead of that foolish and unnecessary notion of rivalry. We cannot forbear copying the piece, which is as follows:
We have received from our friend, Mr. Dwight, of Boston, the first number of his very attractive Journal of Music. It looks trim, tidy and Boston-y, very handsome type being put upon very handsome paper. A peculiarity of the journal is, that no music is given, the columns containing exclusively letter-press matter. The contents bear more or less the impress of Mr. Dwight's own mind, the quality of which is admiringly known to ourselves, and to a large circle of readers.There are now three journals in operation, devoted to the general interests of the art of music : Dwights, the Musical World, and our own. Well — this is not too many, (considering the large public they appeal to.) There is room enough for us all. Particularly so, because the three papers will differ essentially in their distinctive characters. Time, we doubt not, will fully develope what we will not, here, nearer define.
The Musical Times will be essentially professional, useful, and educational. Perhaps we have a right to claim this character for our journal, from the peculiar advantages which we accidentally possess over others. Mr. Dwight, we observe, disclaims in his editorial article any “ ex cathedra" character for his paper, (though we half suspect the entire justice of his disclaimer) his language being “ Without being in any sense a thoroughly bred musician, either in theory or practice, we have found ourselves, as long as we could remember, full of the appeal which this most mystical and yet most human Art, (so perfectly intelligible to feeling, if not to the understanding,) has never ceased to make to us, &c.” A plan has been projected, to stamp the Musical "Times with a character peculiar to itself, which will distinguish it from every other paper.
This is as it should be, and as we would have it. There is room enough for all of us. The field is vast, and cannot be covered by one journal, unless that one be endowed like a great University of Art, with editors, professors, libraries and treasury unlimited.
We by no dreamed of instituting the musical journal, but only of contributing, in journal form, and in our own way, (which of course cannot be just that of any body else) our mite to the cause of true and worthy views of Art in our community ; - perhaps even something approaching a philosophy of Art and of the Beautiful. We hope to make an æsthetic paper; looking at music and the other arts mainly from the æsthetic point of view, as so many expressive languages and utterances of what is best and deepest in the human soul; and only secondarily and incidentally from the scientific point.
Mr. Willis marks out for himself a most important and interesting field of labor. We need his “professional” expositions of the science and productions of the divine art; and we doubt not his entire competency to the task. He proposes to “ teach by mail,” that is, to give “a complete course of musical instruction through his weekly columns.” The course will comprise: 1. Elementary instruction; 2. Harmony and Counterpoint; 3. Musical Form - -or the Architecture of music (showing the musical structure of compositions, such as Sonatas, Symphonies, &c. ;) 4. Instrumentation." This feature of the “ Times” we can commend to all who wish to know more about music; and we may add that the contents of the last number altogether are full of interest and instruction.
New York, Madam Thillon is still singing, and still more acting, Auber's operettes at Niblo's. — Mrs. BostwICK has given a concert at Brooklyn. – We were hoping the good genius would inspire our “Hafiz" to write us somewhat about those EISFELD'S QUARTET SOIREES; but how can an Eastern poet sing through such East winds as ours ? — 80 we must even borrow from his friend and ours, “ Howadji" of the Tribune, who says:
Mr. E1SFELD's Concert of Saturday evening April 3, is not less fair, as it recedes in memory. A programme with no lesser name than Spohr, and the others, Beethoven, Mendelssohn and Haydn, may well “ give us pause awhile, and we be still the gainers. We liked best the performance of Beethoven's Quartet. The instruments went as one; they sang like a dreaming organ - if organs do dream, or if in dreaming they sing. A musical friend near us preferred the Haydn Quartet, and we could not quarrel. In fact, like certain other artists, the gentlemen of these Quartets, are always good. Their degrees are upward from that. Sometimes they may be better, often best, but never less than good. President Timm, of the Philharmonic, assisted them. We had not heard him in public for a long time. But custom cannot stale the pleasure of his smooth, neat, clear and graceful performance. The notes do not sparkle from his touch, but they drip translucent from his fingers. His style has a transparent character, like the watery richness of musical glasses. It is fine, not forcible, - sweet, not magnificent. His Excellency's fingers are almost dandies, so point-derice they are, with such white-kidded daintiness they trip along the keys. For President Timm, among musicians, amateurs and the public, there is but one party, and its name is legion - the party of his friends.
LECTURES ON Music. WM. HENRY Fry, Esq., proposes a course of lectures upen the Science and Art of Music, and upon the most colossal scale. Yet imposing as is his programme, it does not seem to us impossible, and of the very great benefit and actual necessity of such an undertaking there is no doubt. Mr. Fry's proposition is nothing less than to give a general, and, to a l'air extent, adequate comprehension of the whole subject of musical composition, including its scientific relations, its history, its ethics and its æsthetics.
To accomplish this design, which implies extensive illustration, the following essentials are named: A corps of principal Italian vocalists; a grand chorus of one hundred singers; an orchestra of eighty performers; a military band of fifty performers.
Lectures of this scope are clearly not matters to be lightly undertaken and executed, and ample time is allowed for preparation, because negotiations must be commenced with artists. Ten lectures are proposed, at five dollars for the course, and ten thousand dollars is the estimated whole expense. The proposal has a lordly air, and it promises such real advantages to the many who Jove music and yet know nothing about it, that we shall hope for its entire success. — N. Y. Tribune.
were not less than 40,000 persons present, of which number upward of 32,000 paid a shilling for admission, while the remainder had been admitted by ticket. From 3 1-2 till after 6 the entire length of the building was occupied with promenaders, the sides only being left vacant. From the moment when the doors were opened, the centre of the transept became again the chief point of attraction, though the favorite fountain had vanished. Here were the bands of seven of our choicest regiments, whose services had been handsomely granted for the occasion by the respective commanders; and a few minutes after, five of these opened the promenade by marching successively, playing as they proceeded to the stations which had been assigned to them; and they continned to play there during the whole period of the promenade, the intervals of rest being so arranged as to prevent any inconvenient jarring or contest of sounds. The building reverberated for three hours with a performance of standard pieces, as judiciously selected as they were admirably executed.
Mr. ARTHURSON'S CONCERT,
Advertised for this Evening, TS UNAVOIDABLY POSTPONED UNTIL FURTHIER NOIS TICE.
3 lt A CABD. SENORA ROSA GARCIA DE RIBAS
England. London seems to be the point to which just now the nervous fluids in the European body musical are setting the most strongly. In the great world, the musical centre shifts about from season to season; though most of the said shifting is but a pouring back and forth out of one glass into the other, between London and Paris. But go to the lesser world of many a German city, if you would find the tuneful humor moderate and constant, as the daily air we breathe, with the supply of means and skill unfailing. And first:
The Two OPERAS. The first-class prime donne, tenori, bassi profondi, fc. are now all in London, or have their faces set that way. The Royal Opera was to commence on Saturday, March 27th, and Lumley's on the Tuesday following. The Evening Gazette sums up as follows:
Both the Italian Opera Houses selected "Maria di Rohan" for their opening night. At Lumley's Fiorentini, Ida Bertrand and Ferlotti, appear in this singular opera. At Covent Garden, Castellan, Malle. Seguin, Tamberlik and Ronconi, take the principal róles. This selection forebodes a severe competition for the season of 1852, and proves Lumley boldly defiant as he challenges Ronconi in his greatest róle, and makes play for the price from the very start. Both managers by their programmes and lengthy notices from journals friendly to them, promise largely for the amusement of their patrons. Lumley offers two operas new to London, one by Prince Albert's brother, and the other by Flotow, a composer of some distinction in Germany. In “Martha" Madame Sontag has achieved great success. “ The Martyrs," brought out here by the Handel and Haydn Society as an oratorio a few years since, is promised at the Royal Opera, to introduce Tamberlik in the hero. “Willisim Tell" is also set forth as the great opportunity for Ronconi, Formes and Marini. To meet this, Don Giovanni is to have Sontag, Cruvelli and Wagner, as Zerlina, Donna Anna, and Elvira. “Carl Benson "'declares Sontag has fallen off and now sings in the French tinny style. He also considers Grisi decidedly passé, but adinits Tamberlik and Formes to be first rate.
Balfe's new opera, “The Sicilian Bride," produced at Drury Lane, seems to have been an entire failure.
The Two GRAND ORCHESTRAS. The Old and the New “ Philharmonic" have each given their first concert. The old society has long stood among the first orchestras in Europe and exercised a sort of prescriptive right of acting as interpreters in-ahief of the great symphonies of Mozart, Beethoven, &c. To this they grew by yearly study upon these great works, after being at first staggered by the “uncouth singularities” of this latter giant, in whose “Pastoral Symphony” they were wont to curtail the lovely Andante! They have been charged with too exclusive a regard for the old masters, too narrow a definition (practically) of the word “ classic," with black-balling men of the first merit, like Moscheles and Costa. But Costa now is their conductor, and the Society is said to be more liberal towards new composers, as well as more truly than ever up to the classic standard in performance. The sound of the new Berlioz trumpet seems only to have aroused new energy and courage in the old camp. The concert was on the 15th ult. and the room filled with subscribers. See what a programme!
SYMPHONY in C-"Jupiter,"
Mozart. SELECTION from Iphigenie in Tauride,
Gluck. Triple CONCERTO — Piano Forte, Violin, and
Violoncello, M. Silas, Sivori and Piatti, Beethoren. OVERTURE - Oberon,
Weber. PART II. The first part of ROMEO AND JULIET, a dra
matic Symphony, with Solos and Chorus,
by Hector Berlioz. FANTASIE - Contra Basso, Signor Bottessini, Botlessini. OVERTURE—“Guillaume Tell,”
Rossini. Conductor, HECTOR BERLIOZ. Most of the critics seem to have given in to Berlioz, and express wonder and delight at the bold and singular effects of instrumentation in this dramatic symphony.
The Classic CHAMBER Music on all its dozen social social hearths was still glowing bright, diffusing genial warmth. HALLE still stands at the head in this kind, as pianist. -- Mr. AGUILAR gave three soirées devoted exclusively to the Piano Forte works of Beethoven. Mr. Dando's fifth Quartet Concert comprised Haydn's Quartet, No. 26; Mendelssohn's Trio in C minor, with Miss Loder for pianist; Mozart's Quartet, No. 7; and Spohr's Double Quartet, op. 87, together with five German songs.
Of our old friend Louis RACKEMANN, the London Musical World says: "He has announced a soirée musicale, when he purposes playing, in conjunction with M. Molique, sonatas by Mozart and Beethoven, and several of the piano forte works by Mendelssohn, Chopin and Stephen Heller. The lovers of these authors will have a treat of a high order."
ORATORIO. The Sacred Harmonic Society and its rival the London Harmonic, were fully engaged upon oratorio, with seven to eight hundred performers and the best solo talent. “The Creation" had been performed by each; Costa's society having Reeves and Clara Novello; and Sarman's, Miss Birch, Lockey, and H. Phillips. “Israel and Egypt” had been given by Costa's society. The chief singers were Miss Birch, Miss A. Loder, Miss Dolby, Mr. Sims Reeves, Mr. Lawler, and Mr. Phillips. “Samson" had been found so attractive with Sims Reeves in the hero, and Mrs. Endershon as Dalila, that another repeat was required. Beside those distinguished vocalists, Miss Dolby, Weiss, and H. Phillips took parts.- Evening Gazette.
ORGANS. The musical World of London is not content with all imaginable concerts, but luxuriates in large gatherings to hear new organs discoursed upon with the best skill and fancy in combination of stops by some verv celebrated player.
Willis's great organ, left almost solitary and alone in the Crystal Palace, attracted thousands of church-organ amateurs to hear it well played.-16.
KALOzDY'S HUNGARIAN Band had been playing at the St. James's Theatre. Berlioz heard them with high satisfaction, and observed, “ they played with irreproachable precision." — See an article on an earlier page.
her COMPLIMENTARY CONCERT will take place at the Melodeon, on Saturday Evening, May 1, '52, on which occasion she will be kindly assisted by the following talent MISS T. GARCIA,
MISS E. GARCIA,
SENOR DE RIBAS, and
3 2t MR. ARTHUR SON, (AVING taken up his residence in the neighborhood of
, for instruction in the MODERN SCHOOL OF ITALIAN VOCALIZATION. Terms, per quarter, $50. The first month, THREE lessons per week - each lesson one hour's duration.
The advantages, which a long residence in the principal cities of Europe has given him, of studying under the first masters of the day, will, he doubts not, be fully appreciated by those desirous of rapid advancement in the art. The above terms include instruction in the Italian language, a knowledge of which is essential to the proper development of the voice, and a distinct articulation.
Communications may be addressed to the care of Geo. P. REED, 17 Tremont Row.
3 Bm MUSIC BOOKS,
PUBLISHED BY BENJAMIN B. MUSSEY & CO.
29 Cornhill, Boston. ERTINI'S PIANO FORTE INSTRUCTOR.
A Progressive and Complete Method for the Piano Forte. By HENRY BERTINI, The only complete and correct edition published. The Modern Harp, or BOSTON SACRED MELODIST.
A Collection of Church Music. By E. L. Waite and J. E.
GOULD. The Opera Chorus Book. Consisting of Trios, Quar
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from the works of HANDEL, HAYDN, Mozart, MENDELSsoun, ROMBERG, NEUKOMM, Rossini, &c. &c., with an accompaniment for the Organ or Piano Forte.' Suitable for singing societies, and advanced schools. By EDWARD L.
WHITE and J. EDGAR GOULD. The Jenny Lind Glee Book. Consisting of the
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SYMPHONY — No. 12,
Haydn. ARLA — " Land of My Sires,” Mr. Sims Reeves, (Joseph)
Mehul. Concerto No. 2, Piano Forte, M. Halle, Mendelssohn. ARIA — " Ho spavento," Madame Castellan, (Atalia)
Weber. OVERTURE —“ Zauberflote,"
Mozart. PART II. SINFONIA EROICA,
Beethoven. ARIA—" Ah ritorna," Madame Castellan, Mendelssohn. VIOLIN FANTASIA – “Lucia di Lammermoor," Signor Sivori,
Sirori. DUETTO – Madame Castellan and Mr. Sims Reeves, “Don Giovanni,"
Weber. Conductor, Mr. Costa. The “new Philharmonic" opened in Exeter Hall, before an audience of two thousand. The orchestra numbered one hundred and thirty instruments, and we can judge something of its composition when we are told that Sivori and Bottesini, whom we know, headed respectively the violins and double-basses. Its stringed band numbers sixty-eight. What could the oth sixty-two have been? we read however of twelve harps employed for certain occasional effects. With HECTOR BERLIOZ for conductor, and such forces waiting on his batôn, and
Both the Italian opera houses commenced their season presented at Covent Garden was William Teli, in which Marini appeared and Herr Ander, a new tenor from Germany, who failed to make a great sensation. Ferlotti, the new baritone, was successful at the other house, and Calzolari is said to have gained volume and flexibility of voice. Guasco and Negirin had not yet appeared both have great repute among tenors. The second Philharmonic Concert was honored by the Queen and Prince Albert's attendance. Beethoven's Pastoral Symphony was superbly rendered, and the old Society again claim ed the highest orchestral honors. Sims Reeves, Ronconi and Castellan were the vocalists, but produced no marked effect on the audience.-Ere. Gazeite.
A Concert AUDIENCE of 40,000!— The interior of the Crystal Palace, whose fate now hangs in suspense, was recently made the arena of a grand Musical Promenade, designed to aid the project of perpetuation.
The time fixed for the promenade was from two to five. At two only a very few persons entered the building, and the appearance in the vicinity at that time almost prognosticated a failure of the scheme. The accessions proceeded very slowly for some time, but they became at length so rapid that before 4 o'clock there
as issued in Europe. Complete series of Progressive Exercises and instructive pieces for Piano Forte, by BEYER, ROSELLEX, Voss, CZERNY, THALBERG, and all other popular and approved writers; classical compositions by BEETHOVEN, Mozart, HAYDN, MENDELSSOHN, SCHUMANN, &c. &c.-all original copies-being free from errors and mutilations, and issued in a style of superlative elegance. Violon, Flute, and Organ Music; Italian Operas ; Latin Hymns and Masses in variety.
Very extra Roman and Neapolitan VIOLIN and GUITAR STRINGS.
PAUL K. WEIZEL, 213 FULTON STREET, BROOKLYN, NEW YORK. New York, Apr. 17.
ARTISTS' SUPPLY STORE,
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large stock of Materials for OIL PAINTING; also for WATER COLOR PAINTING and DRAWING, viz: Artists' Colors for Oil Painting, prepared in Tubes ; prepared Canvas for Oil Painting; Bristle, Sable, Camel's Flair, and Badger Brushes; Powder Colors; and all other articles required for Painting in Oil.
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The above articles are imported principally direct from the celebrated Color establishment of WINSOR & NEWTON of London, to the sale of whose materials the subscriber gives particular attention. This House obtaiued the Prize Medal for Colors awarded at the Great Exhibition in London. Apr. lv.
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75 Five Thousund Musical Terms-A Complete Dictionary, .50
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, brilliancy and beauty, have for the past four years been thoroughly tested in every part of this broad Republic, from Maine to California, and the universul verdict is NE PLOS ULTRA
A splendid stock now on hand, 6 1.4 and 7 octaves, varying in price from $200 to $500. Every instrument is warranted to give PERFECT SATISFACTION, or the purchase money refunded any time within one year.
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opportunity which is now presented, for making additions to their collections of valuable ENGRAVINGS, as many Proofs and rare Impressions of celebrated Pictures, which are also engraved by the most Eminent Artists, are for sale at Apr. 10.
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HEWS' PATENT AMERICAN ACTION PIANO FORTE. TE VE MANUFACTURER is in possession of numerous testi
monials from distinguished Musical Professors, who have used the greatly improved ACTION PIANO, commending it in high terms. The attention of purchasers and amateurs of Music to an examination of its superiority, is solicited.
GEO. HEWS, 365 Washington Sl., Boston.
NEW MUSICAL PUBLICATIONS.
NEW JUVENILE SINGING BOOK. THE PESTALOZZIAN SCHOOL SONG BOOK,
containing a Complete Elementary Course, (in which a large number of Popular Airs and Tunes, arranged to be sung by note, are employed as progressive exercises,) a large collection of SCHOOL SONGS, together with a full variety of HYMNS and SACRED TUNES, for the devotional exercises of Schools. By Geo. W. PRATT, Teacher in the State Normal Schools, and J. C. JOHNSON, Author of Juvenile Oratorios, &c. This work is on an entirely new plan, and is believed to be a grvat improvement upon any juvenile work heretofore published. A copy for examination will be sent by mail, postage paid, upon tha receipt of twenty-five cente Published by
A. N. JOHNSON,
37 Bromfield St., Boston. A. N. JOHNSON respectfully informs his friends that he has taken the new store No. 37 Bromfield Street, (a short distance from his former location in the Tremont Temple,) where he will keep a full assortment of Music, Singing Books, Piano Fortes, Reed Organs, Melodeons, &c. &c. Orders by mail promptly executed.
of the “ BOSTON ACADEMY COLLECTION OF CHORUSES," price reduced from $24 to $14 a dozen.
PERGOLESE's celebrated STABAT MATER for two female voices, newly translated by J. S. Dwight, Esq., a welcome work to lovers of good music
The Nightingale's Nest, a Cantata by the eminent German composer, REICHARDT, translated by Mr. THATER of Cambridge. A beautiful piece, suitable for concerts, taking about forty minutes to perform it; consisting of Solos for bass, tenor, and soprano voices, with Choruses. Price, $6 the dozen.
Also BEYER'S New Instructions for the Piano: Materials for Piano Forte Playing, by JULIUS KNORE, a work highly approved by the best teachers. Price, $2.
G. P. R. & Co. have also received a further supply of the valuable publications of J. ALFRED NOVELLO of London, for whom they act as agents -- consisting of the ORATORIOS of HANDEL, HAYDN, and Mendelssohn, and the complete Masses of Mozart, HAYDN, BEETHOVEN, S. WEBB, Vox WEBER, and others, with the finest collection of BACH'S FUGUES, and music generally for the organ, that has ever been seen in Boston.
J. CHICKERING, PIANO FORTE MANUFACTURER,
334 Washington Street, Boston.
D. B. NEW ILALL, MANUFACTURER AND DEALER IN
PIANO FORTES, No. 344 Washington Street, Boston. PIANO FORTES REPAIRED, TUNED, A TO LET.
E. H. WADE, 197 Washington Street, Boston.
and Musical Merchandise of every description. Publisher of BERTINI'S METIIOD FOR THE PIANO.
New and Second Hand Pianos, bought, sold and exchanged. Cash paid for Pianos. PLANOS TO LET.
E. H. Wade's Catalogue at present comprises all of the Music published by W. H. OAKES, C. BRADLEE & Co. and A. & T. P. ORDWAY, making it the largest and most valuable one in the country ; which, with a large exchange list, enables him to offer every inducement to the trade, to Seminaries, to Professors and the musical public, for their patronage.
CZERNY'S PIANO FORTE METHOD. As Londonul or Teacheronide
. Amateurs it is invaluable. It is one of the most valuable contributions to the art.London Musical World.
In regard to interest and utility it can never be surpassed.J. A. Hamilton.
It is a work of uncommon merit--one superior to all others. - Drarring-Room Journal, Philadelphia.
A splendid acquisition to the list of American publications. - Philadelphia Saturday Courier,
It is rapidly taking the place of all other methods.-- Philadelphia Inquirer.
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A book of invaluable worth as a code of thorough systematic education.- Philadelphia Sun.
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The most thorough and complete work of the kind.-Mason's Choral Advocale.
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This book must be of great value in schools and families.N. Y. Observer.
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Czerny can boast of having given to musical Europe Thalberg, Listz and Doehler.- La France Musicale.
Published by OLIVER DITSON, 115 Washington Street, Boston. Sold by all Music Dealers and Booksellers in the Union.
Apr 10. tf DEPOT FOR Homeopathic Books & Medicines ;
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Articles for Presents -- for the use of Travelers - of Utility and Ornament, constantly for sale at the lowest prices. 129 WASHINGTON ST., four doors north of School St.
MUSICAL WORKS RECENTLY PUBLISHED BY
MASON & LAW, 23 Park Row, Opposite Astor House, N. York.
A Collection of VoTHE ACADEMY VOCALIST.
cal Music, arranged for the use of Seminaries, High Schools, Singing Classes, &c. By George F. Roor, Professor of Music in Rutgers and Spingler Institutes, the New York Institution for the Blind, &c. With a complete course of Elementary Instruction, Vocal Exercises, and Solfeggios, by LOWELL MASON.
This work is intended to supply a want long felt in our Higher Schools and Institutions. The music is arranged for three parts, and in such a manner that it may be sung exclusively by female voices or by a mixed choir.' Whenever solos occur, a simple accompaniment for the Piano Forte or Meiodeon has been added. The work is printed from new English type and on beautiful paper. Retail price, 62 1-2 cents. ZUNDEL'S ORGAN BOOK. By JOHN ZUNDEL. Two
Hundred and Fifty Easy Voluntaries and Interlude: for the
Seraphine. Retail price, $1 50
A Collection of Glees and Part Songs, selected and arranged
Here are Thirty-three choice, tasteful, and sprightly Glees
ty-six New and Beautiful Songs, arranged for Schools and Juvenile Classes. By L. WILDER, Teacher of Music in the Brooklyn Music Schools, &c.
This work has already been adopted in the Schools of Brooklyn, New York, &c. Retail price, 18 3-4 cents. CANTICA LAUDIS: Or, THE AMERICAN BOOK OF
CHURCH MUSIC. By LOWELL MASON, Professor in the Boston Academy of Music, Editor of the Boston Handel and Haydn Society's Collection, Carmina Sacra, and other of the most popular Music Books in the country; and GEORGE JAMES WEBB, Professor in the Boston Academy of Music, and Editor of many valuable Musical Works,
The increased satisfaction with which it was received, and the unprecedented success of this book, MASON AND WEBB'S LATEST WORK, as well as the warm commendations it has received from the Musical Profession generally, establish it as the best and most attractive collection of Church Music which even these celebrated authors have ever produced. It contains a greater amount, as well as variety, of truly beautiful new tunes, anthems, chants, and other pieces, than any similar work; besides a copious collection of the standard old tunes. The Elements of Vocal Music have been newly and most carefully prepared, and to adapt it more particularly to CHOIRS AND SINGING Schools, about Two Hundred Solfeggio Exercises and Progressive Lessons have been added. In addition to numerous testimonials from the press, it having been pronounced the “ MOST VALUABLE Book of CHURCH MUSIC EVER 188UED," it has received from every section of the country the unqualified approbation of more than ONE HUNDRED PROFES. BORS AND TEACHERS OF MUSIC. Retail price, 88 cents.
and Practice of Musical Composition. By Apolpa BERNARD
A. B. Marx holds such high rank in Germany as a writer upon the subject of Musical Composition, that any recommendation of his great work to those who are at all acquainted with the musical literature of the land which is emphatically the home of music, would be superfluous. It is without a rival as a treatise upon this subject, thorvughly scientific and yet adapted to popular comprebension.
The present translation is beautifully printed in 406 octavo pages, and bound in English cloth. Retail price, $2.50.
NEW HYMN AND TUNE BOOK. TEMPLE MELODIES. A Collection of nearly all the
Standard and Popular Tunes, in connection with Five Hundred Favorite Hymns; arranged as a Hymn and Tune Book for Vestries, Social Meetings, Congregational and Family Worship, &c. By DARIUS E. JONES.
This work has already been introduced, and is used with great satisfaction and profit in the vestries of many Churches and in the Congregations of some, while the publishers have received numerous recommendations from Clergymen and others. Those who love the old tunes, and who deem it a desirable object that as many as possible should unite in the singing, especially at social meetings, will find this exactly the book wanted.
* Two Editions of the Work are published - an Ocravo Edition, price One Dollar ; a DUODECIMO EDITION, price Sevenly-five Cents. Both Editions are the same as regards contents, PAGE FOR PAGE, and vary only in the size of type. А liberal discount will be made when ordered by the quantity for Churches, Vestries, &c. New York, Apr 17.
ICONO OY imperation Olmedy, Bhatab price of theireen off the
This is an opportunity of obtaining, at an unprecedented low price, a celebrated work of SCHEFFER, who is universally conceded to be one of the greatest of modern painters. Severe, spiritual, grand, simple – he possesses the most wonder-, ful power over the heart, and the pathos and force of his ideus enchain the attention and excite the soul with holy passion. His world-renowned painting of “ Christus Consolator" finds an equal in this late production of his pencil.
This picture is on exhibition and sale, at
N. D. COTTON'S, 13 Tremont Row.
Mrs. ROSA GARCIA De RIBAS,
TEACHER OF THE PIANOFORTE, SINGING & GUITAR,
Residence No. 37 Ash St., Boston. (R. De RIBAS will give instruction on the Oboe and
Flute. Also MUSIC ARRANGED, TRANSPOSED, &c. Apr. 10.